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Click here to subscribeAdrien Etienner Gaudez (French, 1845-1902). A bronze figure of Mozart playing the violin, the plinth signed 'A GAUDEZ', 37.5cm high, together with an Italian bronze figure after the antique of The Venus Callipyge or 'of the beautiful buttocks', the base with a foundry pastille 'CHIURAZZI NAPLES', and a bronze group of the dancing satyr with Bacchus on a marble plinth, indistinctly stamped with foundry mark. (3)
A 19th century lacquered brass binocular microscope by R & J Beck, London: number 4907, the binocular tubes with coarse and fine adjust above rectangular adjustable platform and adjustable iris and mirror on a shaped plinth base together with 1 1/2, 2/3, 4/10, 1/5 objectives in canisters, lenses and accessories in a mahogany fitted case.
A Victorian commemorative gilt launch mantel clock for the stern paddle steamer 'La Victorine', with movement by Japy Freres:, the eight day bell strike movement with gilt dial mounted in the bulkhead wall of the case modelled as a wheel deck, with helm mount, binnacle compass, guard rail and gimballed lights, over main deck with ladder and figure of a sailor, signed as per title and inscribed to stern 'La Victorine Artibonite', mounted on a marble plinth with presentation plaque inscribed 'Launched by Mrs Duranty Sept 25th 1886', 28.5cm wide. * Note- The presence of the word 'Artibonite' on the stern of the clock most probably refers to the Artibonite River in Haiti, for which the ship was intended to be used upon. From The Liverpool Mercury 27 September 1886 "LAUNCH OF THE STERN-WHEELED STEAMER LA VICTORINE. - On Saturday there was launched from the shipbuilding yard of Messrs. Laird Brothers a stern-wheeled steamer which has been specially built to the order of Messrs. Widow Duranty and Son, of Liverpool. The naming and launching ceremonies were performed by Mrs. Duranty and her granddaughter, Miss Myra Duranty. La Victorine is of somewhat peculiar construction, having only a single paddle wheel placed at the after end, and is built to draw exceedingly little water. The machinery is on the high-pressure compound principle. The vessel is specially designed to navigate a very rapid and narrow river in South America, and her trial trips, which are to begin shortly, are looked forward to with very great interest. The steamer is from the plans and specifications of Messrs, W. R. McKaig and J. Carlton Stitt, of this city, consulting engineers to the owners."
An Edwardian gilt ship's helm mantel clock presented as a gift by The Earl of Jellicoe to Dr P H Devitt, together with signed correspondence:, the double barrel eight day gong strike movement by the Chelsea Clock Company Boston, MA, numbered 98943, with silvered dial and stylized Arabic numerals, inscribed with Goldsmiths & Silversmiths Co Ltd London address, and also marked 'Ship's Bell', under a glazed bezel in a helm mounted case, on a down swept plinth with a mahogany base, 35cm high, together with a letter to Mrs Devitt asking for suggestions for a suitable gift to present to Mr Devitt '... a dressing case, tie pin (if he wears them) , a clock...' and a letter to Mr Devitt sent with the clock ' I am sending you with this note a clock which will I hope remind you occasionally of a very grateful sailor' and three other notes all signed 'Jellicoe'.
A Victorian style mahogany dining table, the shaped rectangular top with scroll carved corners, raised on pedestal plinth, tripod legs with foliate carving, on claw feet, 77cm high x 214cm wide x 140cm deep. CONDITION REPORT: leaves are different colour, veneer losses, general ware and splits, base not original to top
A Victorian mahogany rectangular bookcase, 19th century, the shaped rectangular top, with scrolling uprights, raised on plinth base, with adjustable shelves, 101cm high x 161cm wide x 33cm deep. CONDITION REPORT: has been converted to back to be shaped around a skirting board, overall stretches but in reasonable condition for age.
A Large and Impressive French gilt and patinated bronze clock, 19th century, mounted with a model of a silvered horse with a slave tied to its back, leaping over a tree stump, on a rectangular plinth, with stepped leaf moulded base, on bracket feet, the clock with white enamel dial and Roman numeral chapter ring, the barrel movement with count wheel striking and bell gong, lacking keys and pendulum, 61cm high CONDITION REPORT: overall slave is lacking silvering in all areas, gilding is rubbed all over, otherwise in good condition
A mid 19th century Florentine ebony break front side cabinet, in the Neo-Classical taste, gilt metal mounted and bone inlaid, having a central fielded panelled cupboard door decorated with anthemions and bell flowers, flanked by a pair of split pilasters and a pair of bow front glazed doors, plinth base, lacking upper superstructure. H.99cm, W.153cm, D.42cm
** Ricky Swallow (b. 1974) - Standing Figure, 2012 bronze withbrown/black patina, from the edition of 2 (plus 1 AP), with integral cast plinth 25 x 6 x 5 in., 63.5 x 15 x 13 cm (height) Provenance: Modern Art/Stuart Shave, London. One of the most memorable pavilions at the Venice Biennale of 2005 was the Australian, for which Ricky Swallow exhibited a group of large sculptures carved in wood depicting skeletons, skulls, bicycle helmets and rattlesnakes. Seemingly borrowed from Old Master paintings, Swallow updated the Trompe L'Oeil aesthetic for today's audience. Since then, his interest in art history has branched out into Modernism and beyond, in step with his increasingly varied use of medium and experiments with process.
A Victorian mahogany sideboard base with curved side doors, a central bank of two short and two long drawers on a plinth base on bun feet with added bookcase top, triple glazed doors beneath a plain frieze, the top probably early 19th Century (a marriage), 82 x 70 ins (208.5 x 178 cms) overall
A late 18th/early 19th Century chest of two short and four long drawers with cock beaded edges, oak linings, brass escutcheons and replacement brass pommel and swing handles, twin raised chamfered panels to the sides and a bracket corner plinth base (drawer bases have added strengthening bars), 40 x 37 ins (101.5 x 94 cms)
A good quality late Victorian oak side cabinet, small mirrored back top with single shelf supported by turned pillars, curved side doors crossbanded with mahogany below a shaped top, single central glazed front panel flanked by half cut reeded pillars on a shaped plinth base, 53.5 x 37.5 ins (136 x 95 cms)
A late Victorian/early Edwardian oak and mahogany apprentice chest, half cut columns and top decoration with two small and two large drawers having brass decorative back plates and swing handles on a plinth base, written inscription underneath 'William Williams, Cabinet Maker, Abererch, Pwllheli', 14.25 x 15 ins (36 x 38 cms)
A Victorian oak Wellington type tabletop chest of drawers having a moulded top with chamfered corners above a bank of six drawers, central locking bar on a double plinth base, gilt backplates and faux bamboo swing handles with gilt metal corner plates to the base, small gilt metal plaque to the rear with the words 'Makin, Manchester', 12 x 15 ins (30.5 x 38 cms) approximately
A Georgian oak dresser with closed back three shelf plate rack in pine, the two plank top over an arrangement of two drawers and two cupboard doors flanking a full flight of four opening drawers, the lower with locking pegs, brass circular plate and swan neck handles with shaped chamfered panel doors on stile feet, 82 x 73 ins (208 x 185.5 cms), (back boards with evidence of worm, some ring staining to base surface, plinth frieze missing, lacking colour in areas)
A Regency rosewood and gilt metal mounted four tier whatnot, circa 1815, in the manner of Marsh and Tatham, after Henry Holland, the top tier with three quarter pierced brass gallery, with three further graduated tiers joined by chamfered uprights decorated with rosettes, above two frieze drawers, on gilt winged lion paw feet and on a simulated porphyry plinth, 138cm high, 64cm wide, 54cm deep Please refer to the footnote for lot 32 regarding this lot
A George III mahogany breakfront library bookcase, circa 1780, the moulded cornice incorporating lappet carved, dentil and fluted frieze interspersed with relief carved patera terminals, above four astragal glazed doors opening to adjustable shelves, the base with four panelled doors opening to adjustable shelves, on a plinth base, 272cm high, 305cm wide, 54cm deep
A Dutch walnut and seaweed marquetry press cupboard, circa 1750, the moulded cornice above a pair of profusely decorated doors incorporating geometric panels of seaweed marquetry within borders of oyster veneer, each central panel incorporating marquetry moths incorporating green stained bone elements, opening to three open shelves, two of which incorporate fitted drawers, the stand with three further drawers above arched stretchers and octagonal tapering legs on a plinth base, 211cm high, 179cm wide, 58cm deep
The following lots 706-708 are by the Mexican Sculptor Armando Amaya, b.1935 Born in 1935 in Mexico City, sculptor Armando Amaya is one of Mexico's most eminent interpreters of the female form. Whether sculpting in terracotta clay, bronze or marble Amaya works directly from the model and his interpretation of the female body is dignified, graceful and unique, a melding of the Mexican Figurative movement with modernist experimentation. Like many of his great piers working in the Latin American tradition, his work is a union of European and indigenous aesthetics. Amaya studied at the National School of Painting and Sculpture under the Costa-Rican born Mexican artist, Francisco Zuñiga, who was also well known for his portrayal of the female form in sculpture. Having graduated from the school, he was personal assistant to Zuñiga for five years before being appointed a Professor at the same institution in 1969. He received much of his art training at the Esmeralda School, which was formed by a group of artisans producing government works. Amaya's sculptures are in private and public collections throughout the United States, Canada, Japan, Ecuador, Mexico and other Latin American countries. Armando Amaya, Mexican b.1935- "Mariposa"; bronze with green patina, signed, dated 1987 and inscribed A/P, 51cm height excluding base CONDITION REPORT: appears as issued with no noticeable signs of defects dimension including the plinth are: 51x46x60cm plinth is 5cm in height
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